Tina Askanius - Cardiff University
Tina Askanius - Cardiff University
Tina Askanius - Cardiff University
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genres and products. They hardly<br />
represent a self-contained or stable<br />
genre. Instead, they migrate, mutate,<br />
replicate in a constant shuttle between<br />
fictional and factual genres in a ‘cross<br />
pollination of styles’ (Hill 2007).<br />
Figure 3. Framing the news anchor as<br />
croupier in the absurd theatre of casino<br />
capitalism.<br />
Another example of the critical and<br />
playful remixing of content characteristic<br />
of the political mash-up video is seen in<br />
the Indymedia production ‘Pro Capitalists<br />
gather for G20 in London April 1st’. In<br />
this video, scraps of CNN, BBC, RT and<br />
FOX news reports on the global financial<br />
crisis are ‘jammed’ so as to ridicule and<br />
subvert the statements of politicians,<br />
bankers and news anchors.<br />
Mixing these ‘disrupted’ news reports<br />
with amateur recordings from anticapitalist<br />
protests in London and footage<br />
from a Casino, this hodgepodge of reedited<br />
content frames the global<br />
financial crisis as a product of ‘casino<br />
capitalism’, the corruption of political<br />
and economic world leaders, and the<br />
inability/reluctance of mainstream<br />
media to critically probe and expose<br />
these matters to the public (see<br />
appendix 15).<br />
A particularly good example of videos<br />
that work between performative and<br />
realist strategies to attract the attention<br />
of the viewer are mash-up videos, which<br />
combine the features of the personal<br />
vlogs with what we may loosely refer to<br />
as the alternative news report. In<br />
collapsing these two genres, such videos<br />
for instance combine close-ups of ‘the<br />
talking head’ typical of the video diary,<br />
with eyewitness accounts or fragments<br />
of mainstream media news material, to<br />
create a new and personalised narrative<br />
of the protest event. Some of these more<br />
individualised modes of political<br />
expression intrinsic to the video diary<br />
tend to deflate into a politics of<br />
narcissism in videos that seem to be is<br />
more about boosting channel traffic and<br />
achieving celebrity vlogger status than<br />
about constructing a political argument<br />
or engaging in political a debate.<br />
The collapse of genres and styles<br />
Second, the concept of mash-up also<br />
bears meaning to the process of mixing<br />
genres and stylistic forms. Political<br />
mash-up videos draw upon a wide range<br />
of different discourses, styles, and<br />
narrative structures of different media<br />
www.cf.ac.uk/JOMECjournal<br />
Figure 4. Crossover between the intimate<br />
video diary and the alternative news report.<br />
We see these tensions being played out<br />
in the video ‘Goodbye Alex’ in which a<br />
vlogger pays tribute to the Greek<br />
teenager, Alexandros Grigoropoulos,<br />
killed by police in Athens in 2008 (see<br />
appendix 16). On YouTube his death<br />
spawned a surge of alterative news<br />
11 <br />
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